Iesuke (家助) is counted among the representative swordsmiths of Oei-era , standing alongside Morimitsu, Yasumitsu, and Tsuneie as a principal figure of the school during the early period. Tradition holds that the founder of the Iesuke line was a son of Moriie, the first generation of the lineage, and that he worked around the Bun'ei era (1264-1275); however, among extant signed works, none are seen that predate the Oei era, and the earliest dated examples bear inscriptions from around Oei 3 (1396). Smiths using the name continued through several generations and flourished across the period, though the details of each generation are not clearly established. An unsigned blade attributed to the period and a work bearing an corresponding to a smith active around Bunwa (c. 1352-1356) attest to earlier activity under the name, yet the core body of Iesuke's oeuvre belongs firmly to the Oei period. His lineage is thus understood as part of the broader tradition that took as its ideal the work of the -period masters and blades, presenting a deliberately revivalistic aspect.
Within his workmanship, two distinct stylistic modes are observed. The first and more characteristic manner displays the typical Oei- of mixed with , frequently incorporating (open-hipped ) and small elements, with and entering well and and appearing within the tempered area. The is bright and tends toward a tightened character, and the temper is predominantly with a tendency. The second mode employs a more gentle, -toned enlivened by subtle activities. In forging, his works consistently show mixed with and , with an overall tendency toward standing grain and entering frequently. Both and appear across his oeuvre. The steel often displays a clear kana-iro tone of striking beauty, and the , though showing bold flowing grain, is well-refined with an attractive . His is characteristically , turning back in or with a slightly pointed feeling.
Although Iesuke's name is not as widely known as those of Morimitsu and Yasumitsu, the repeatedly affirm that his workmanship is, in technical terms, in no way inferior to that of his celebrated contemporaries. Indeed, works such as the dated Oei 19 (1412), with its imposing and dignified presence and especially splendid within the temper, indicate that he deserves to be evaluated more highly. Signed works by the Bunwa-era Iesuke are exceedingly rare and carry high value as reference material, while the Oei-period blades demonstrate a mastery of the revivalistic Oei- idiom at its finest. His oeuvre encompasses both bold, richly patterned compositions and restrained, straight-tempered works of quiet elegance, revealing a smith of considerable range whose legacy constitutes an essential chapter in the history of the school.